Dice Raw: Verdict Delivered

Dice Raw

Dice Raw doesn’t walk into a room—he storms it. Every verse hits like lightning, every beat lands like a punch, every stage ignites with unfiltered intensity. Hip-hop is the heartbeat, but his work detonates into theater, community, and action, where rhythm is a weapon, storytelling is a hammer, and every project carries weight you can feel. Nothing soft. Nothing safe. Every line cuts, every move commands, and the energy refuses to settle. This is art that doesn’t ask for attention—it takes it.

Q: What was it like for you to gain national attention at just 15 on "The Lesson, Pt. 1," and how did that moment shape your approach to music?

Dice Raw: Gaining national attention at such a young age was exhilarating, but it didn’t feel as overwhelming as it might today, given the pervasive influence of social media. I still saw myself as the same regular kid who just happened to be rapping, even though more people knew my name. I vividly remember my first performance with The Roots at Giant Step in New York, when the audience rapped my lyrics back to me. That moment completely shifted my perspective on life. Since then, my approach to creating music has continued to evolve daily, shaped by new projects, different beats, and the emotional climate of the world around me.

Q: Your solo albums—Reclaiming the Dead, The Greatest Rapper Never, Jimmy’s Back, and The Narrative—each explore distinct themes. How has your sound and message evolved across these projects?

DR: Reclaiming the Dead was a difficult release. Although I was at a high point personally—young, recognized, and signed to a label—the project received criticism. That response pushed me back into the studio to expand creatively, blending genres and experimenting with new sounds. That growth is especially evident in Jimmy’s Back and The Narrative, which feature more theatrical tracks like “Animal” and “Please Read Me.” Over time, my music has become more layered, intentional, and bold in both sound and message.

Q: Jimmy’s Back addresses mass incarceration and social justice, inspired by The New Jim Crow. Why was it important for you to focus on these themes through music and theater?

DR: Having a meaningful message in my art is essential. Mass incarceration is a devastating systemic issue affecting African American, Latino, and impoverished white communities, and it demands attention from every angle. When facing problems of that magnitude, it feels like a responsibility to raise awareness. Through music and theater, I can sound the alarm on these social injustices and contribute to a broader conversation about reform.

Q: You’ve contributed to influential Roots albums like Things Fall Apart and How I Got Over. How has working with them influenced your growth as an artist and storyteller?

DR: Collaborating on projects like Things Fall Apart and How I Got Over deeply shaped my development. The rewriting process was rigorous and demanding, which sharpened my skills not just as a rapper, but as a scriptwriter and playwright. Working with that level of discipline made me more intentional and versatile in how I tell stories. 

Q: As someone closely associated with The Roots, though not an official member, how has that relationship shaped your artistic identity?

DR: My collaborations with The Roots have significantly shaped my artistic identity. My voice on their albums stands apart from other featured artists, offering a distinct perspective. Black Thought’s powerful and precise style complements that contrast, allowing my individuality to stand out even more.

Q: You’ve transitioned into community leadership as CEO of New Freedom Theatre. How has your work in theater and activism complemented your musical journey?

DR: Leading New Freedom Theatre has strengthened my artistic mission. I never imagined I would run a professional arts institution—especially one I attended as a student. Black art is vital and deserves broader recognition. Theater has always been woven into my albums, and my mentor, Rich Nichols, envisioned operating in this space. I feel I’m continuing that legacy.

Q: You’ve written and produced hip-hop musicals like The Last Jimmy and Henry Box Brown. How do theater and music intersect in your mission for social justice?

DR: My collaborator Phil Brown and I believe hip-hop is a powerful voice for the future of theater. It delivers urgency and truth in a way traditional musical structures sometimes can’t. Henry Box Brown was my first solo production, and it reinforced how hip-hop can spotlight overlooked histories—especially stories of African American resilience and heroism. Theater and hip-hop together create a platform for powerful social commentary. 

Q: Your work with organizations like the ACLU and the Innocence Project reflects your activism. How do you see your role as an artist influencing social reform?

DR: Groups like the American Civil Liberties Union and the Innocence Project are doing critical work. As artists, our responsibility is to amplify those efforts. Art should push society toward accountability and reform. When systems fail, we must raise our voices and hold leadership accountable. Music and art are tools for awareness and action—they’re inseparable from social justice.

Q: Your single “Fix It,” featuring Bilal, addresses systemic issues. What inspired the collaboration, and what message do you hope it conveys?

DR: Working with Bilal on “Fix It” felt natural. The message is simple: systemic problems in cities like D.C., Detroit, and Philadelphia require urgent solutions. While some local leaders are working toward progress, national unity and accountability are essential. Divisive leadership has deepened social fractures, and healing must begin now.

Q: Looking back on your career, what lessons have you learned about using art as a tool for change?

DR: Art isn’t just a tool for change—it’s a driver of the future. In an era shaped by artificial intelligence, we face both dystopian and utopian possibilities. Art can guide us toward empathy, stewardship, and collective growth. It reminds us to strive toward something better each day.

Q: What new projects are you most excited about moving forward?

DR: I’m excited about several upcoming works: the Insanity Project [new music], the Dance Odyssey—which I produced and choreographed with Rhapsody Taylor—and the Clarity Project. By (or before end of) 2026, I also plan to release “Girl Killed a Bad Guy.” Each project expands my creative reach while staying rooted in purpose.

Q: How do you balance being a rapper with activism and leadership?

DR: For me, there’s no separation. My work as a hip-hop artist, activist, and leader all serve the same mission. Performing with The Roots is occasional, so my primary focus remains on leadership at New Freedom Theatre and advancing hip-hop as a vehicle for social impact.

Q: What advice would you give young artists and activists who want to create meaningful change?

DR: Use your voice boldly and unapologetically. Speak truth with clarity and courage.

Q: What legacy do you hope to leave through your music, theater, and activism?

DR: I align with Mike Tyson’s perspective—once you’re gone, legacy becomes less about ego and more about impact. My focus isn’t on how I’m remembered, but on how Black art evolves by honoring the past and building a stronger future.

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